JOHN SEXTON PHOTOGRAPHY WORKSHOps 2008–2009 WORKSHOP SCHEDULE JOHN SEXTON PHOTOGRAPHY WORKSHOps 2008–2009 INTRODUCTION he year 2008 is an important milestone for my workshop program. I could not have imag- STAFF ined when I first offered The Expressive Black and White Print workshop in 1983 that it would have such longevity and popularity. 2008 marks the twenty-fifth anniversary of this DIRECTOR T John Sexton workshop. What began as a single workshop quickly grew into multiple offerings, and has for many years been offered five times annually. It is humbling for me to know that over 1,200 people have ADMINISTRATIVE ASSISTANT Laura Bayless attended various sessions of this particular workshop. It is also gratifying to know that there con- tinues to be great interest from participants around the globe in attending this workshop. The fol- PHOTOGRAPHIC ASSISTANTS low-up workshop, which originated due to popular demand from past workshop participants, Fine Anne Larsen Jack Waltman Tuning the Expressive Print, celebrates its twentieth anniversary in 2008. I have many fond memories of workshop experiences I’ve shared with participants in the past, and I look forward to the possibil- INSTRUCTORS ity of meeting new photographers with whom to share my love of this magical medium. Ray McSavaney John Sexton The workshops included in this year’s program will provide opportunities to learn from successful working photographers. The instructors and assistants will willingly share their experiences with CORPORATE SPONSORS you — both successes and mistakes — they have NO SECRETS. The workshops are an intense expe- Eastman Kodak Company rience, in which one will be immersed in photography from early in the morning until late at night. You will be tired at the end of the workshop, but will be filled with information and inspiration. Bogen Imaging All of us involved in this workshop program share the desire for creating an atmosphere of excite- Light Impressions ment, while providing you with the knowledge and motivation you need to transform your ideas Myrick Photographic into successful photographs. All of the workshops offer a combination of instruction in the aesthetic OmegaSatter and technical considerations involved in making expressive photographs. The exploration of ideas The Tiffen Company and concepts, rather than dogma, will be emphasized in communicating information, thoughts, and perceptions in a comfortable, non-competitive environment. The workshops are intended for PRINTING the individual who is seriously interested in an exploration of photography, and who is committed to actively participating and working at improving their craft, personal vision, and direction. Dual Graphics These workshops offer opportunities to receive instruction and inspiration from photographers of distinctive abilities, and are structured to allow for an intimate atmosphere, conducive to learning, sharing, and creativity. Directed outdoor photography sessions, portfolio reviews, informal discus- sions, along with instructor demonstrations and presentations, will be included in all workshops. I am looking forward to participating with some of you in our 2008–2009 workshop program! ACKNOWLEDGEMENTS A very special thanks to the Eastman Kodak Company for its continuing dedication to photographic education, and their more than two decades of generous sponsorship of my workshops. In particular, I would like to express appreciation to Scott DiSabato for his commitment to this workshop program. COVER PHOTOGRAPHS I have relied on Gitzo tripods to steadily support my cameras since 1983. My thanks to the Bogen Imaging team for their support of this workshop program. Special thanks to Paul Wild, Kriss Brunngraber, and David Fisher. Front Cover I am most pleased to once again have Light Impressions as a workshop sponsor. For over thirty years Light TREE FERN DETAIL CARMEL, CALifORNIA Impressions has been dedicated to supplying archival products of the highest quality to photographers. In particu- lar, I would like to thank Larry Proctor for his assistance and support over the years. Negative made on new Kodak Professional T-Max 400 film I am thrilled to again have OmegaSatter as a workshop sponsor. My Omega/LPL variable contrast enlargers have ©2007 John Sexton been valuable print making tools for more than a decade, and I have relied on my Jobo rotary processor for film All rights reserved developing since 1988. I would like to thank the OmegaSatter team for their support of my program. It is a pleasure to have The Tiffen Company as a sponsor. Thanks to Steve Tiffen and Hilary Araujo. I have been using Tiffen filters with great results for over thirty years. Back Cover The assistance and expertise offered by Stephen Myrick and his team at Myrick Photographic is extraordinary, often involving ingenuity, exploration, and adventure in filling the unusual needs of creative photographers. PAINTED WINDOW ANAHEIM, CALifORNIA For 30 years, I have worked closely with David Gray Gardner and Kevin Broady on the printing of my books, post- ©1978 John Sexton ers, and workshop brochures. It is a pleasure to work with them, and the dedicated team of skilled professionals at All rights reserved Dual Graphics, on the production of this brochure. ©2008 John Sexton. All rights reserved. www.johnsexton.com WORKSHOP FRESH SNOW ON TREES, SUN YOSEMITE VALLEY, CALIFORNIA ©2005 John Sexton All rights reserved THE EXPRESSIVE BLACK AND WHITE PRINT JOhn SextON APRIL 8–13 NOVEMBER 4–9 FEBRUARY 17–22, 2009 MARCH 3–8, 2009 APRIL 14–19, 2009 This extremely popular workshop celebrates its silver anniversary in 2008! Each of the five workshop sessions concentrates on darkroom demonstrations in the art of black and white printing by noted photographer John Sexton. Conducted in John’s state-of-the-art studio and darkroom in the roll- ing hills of California, each intense workshop is limited to ten participants in order to maximize the benefit for all involved. Assisted by talented photographer, Anne Larsen, John demonstrates the decision-making process leading to the final print, including the Zone System of exposure and development, the production of high quality negatives, creative printing techniques, advanced print manipulation techniques, processing for permanence, and presentation of the finished print. Emphasizing the aesthetic considerations and consequences of each procedure, the well-organized, Note: If you have attended this workshop previously and thorough demonstrations will include: determination of proper print exposure, variable contrast are thinking of repeating the printing controls, advanced dodging and burning procedures, localized print flashing, local print experience, we encourage you reduction, localized selenium intensification of negatives, and much more. to consider Fine Tuning the Expressive Print which, by Portfolio reviews will offer constructive evaluation of participants’ prints and negatives, and dis- popular demand, is offered as a continuation of this workshop, cussions explore the possibilities involved in creating expressive prints. A directed field session on the and John’s workshops at spectacular Monterey Peninsula will allow participants to put new ideas into practice. In the popu- Anderson Ranch Arts Center, lar and unique negative review session John will evaluate successful as well as problem negatives. The Maine Photographic Workshops, Palm Beach All applicants must have a working knowledge of black and white printing technique and should be Photographic Workshops and the University of Wisconsin. actively involved in traditional darkroom print making. Each workshop begins at 7:00 on Tuesday The Fine Tuning workshop evening and ends about 1:00 on Sunday afternoon, and includes daily refreshment breaks and three begins with a general review of meals, along with a 100+ page workshop syllabus. Five identical workshops are offered. If possible, ideas and procedures covered previously, before proceeding please list alternate workshop dates when applying. Early enrollment is highly recommended as these with more advanced concepts workshops often fill immediately. and techniques. FEE: $875 WORKSHOP PICTOGRAPH COLORADO PLATEAU ©1997 Ray McSavaney All rights reserved SOUTHWEST LANDSCAPE – A SENSE OF PLACE RAY MCSAVANEY AND JOHN SEXTON MAY 11–16 Centered in the heart of the Navajo Nation, this very popular workshop, co-sponsored by the Ray McSavaney Photographic Workshops, is offered for the twenty-first time.A lthough there are many workshops offered in the spectacular Southwest, few have been offered for as long as this popular event. A personal sense of place may evolve as we explore the relationships between the Navajo people and their land, the physical terrain and the constantly changing skies, the diverse cultures converging and co-existing amid the ever-present mysterious feelings of conflict and tranquility. This year’s workshop will offer a new format and will begin Sunday morning at Canyon de Chelly, Arizona, where we will photograph the architectural remains of the ancient Anasazi cliff dwellings set in the magnificent sandstone alcoves. Midway through the workshop we will move north into Utah to visit the monolithic sandstone sculptures of Monument Valley and other nearby exciting, but less often visited, areas. Specially arranged guided photographic tours, limited to our workshop group and designed for our specific needs, will allow us to visit areas not normally accessible. Stops made during these trips will allow ample time to explore the many